ETC Photo Documentary: In Focus Ukraine. European networking with Ukrainian theatres and artists

IN FOKUS: UKRAINEEUROPEAN NETWORKING WITH

UKRAINIAN THEATRES AND THEATRE MAKERS

ETC THEATRE CONFERENCE

THE FUTURE OF EUROPE

BRAUNSCHWEIG, GERMANY

27 – 30 NOVEMBER 2014

Supported by

PHOTO DOCUMENTARY

Opening of the Future of Europe Conference

Gabriele Heinen-Kljajić, Lower SaxonyMinister of Science and Culture

Dubravka Vrgoč, President of the ETC,General Director Croatian National Theatre

& World Theatre Festival Zagreb

Joachim Klement, ETC Board Member & General DirectorStaatstheater Braunschweig

Introduction In Fokus: Ukraine..................................................................................................................

Theatres and theatre directors from the Ukraine ......................................................................................

Young theatre makers from the Ukraine ................................................................................................. 15

The structure and development of the Ukrainian theatre by Pavlos Arie .................................................. 22

Summary of the ETC conference and Fast Forward festival .................................................................... 2

Workshops and panel discussions ......................................................................................................... 2

Performances Fast Forward festival and opera .......................................................................................

Quotes .................................................................................................................................................. 32

Partners / Contact ................................................................................................................................. 33

CONTENT

6

The topic of our annual international theatre conference wasthe future of Europe. But how can we talk about the futureof our continent, when in our very present time, new militaryconflicts have been breaking out on the Eastern border ofUkraine to question the geographical, cultural and historicalbelonging of its European identity. What does this mean forus theatre professionals? How do we relate our work to thecurrent events through artistic means and through the free-dom and liberty of the arts? The concerning political situati-on in the Ukraine gave reason to strengthen ties betweenthe European Theatre Convention (ETC) with theatres andartists coming from the country currently in crisis to buildbridges and connect with partners in the ETC network.Calling upon the responsibility of arts and humanities to en-vision a future for an open and equal Europe, the situationand work of Ukrainian theatre makers and theatres washence made a focal point of our conference “The Future ofEurope”, which took place during the Fast Forward theatrefestival at the State Theatre Brunswig during four days endof November 2014. An invited delegation of artists andtheatre directors from Ukraine presented their work, connec-ted with the over 200 festival and conference participantsand partners from across Europe and engaged in an ex-change of view on current artistic, cultural and political is-sues.Theatre from Ukraine is not very known in the rest of Euro-pe. Despite the fact, as we learned in our conversationswith Ukrainian theatre colleagues, that theatre has a verylong and rich tradition in Ukraine with over 130 public thea-tres across the country (nearly as many as in Germany,whereas in Ukraine live half as many people). The invitedguests from Ukrainian public theatres as well as the inde-pendent and fringe theatre scene therefore jointly stressedthe valuable important exchange with European colleaguesand the influence culture has on the political developmentsin their country. After first encounters and discussions,ideas for continuous European theatre networking wereelaborated to strengthen new relations, to further bridge theartistic life between Ukraine and the rest of Europe in thecoming year and especially to offer young Ukrainian theatremakers professional perspectives in an international con-text. With our project “In Focus: Ukraine” we wish to contri-bute to creating plurality in public theatre spaces andemphasize the fundamental values of freedom and demo-cracy.

INTRODUCTIONIN FOKUS: UKRAINE

Heidi WileyETC General Secretary

THEATRES AND THEATRE DIRECTORSFROM THE UKRAINE

STANISLAV MOISEIEVArtistic director of Ivan Franko National Academic Drama Theatre, Kiev

NELLI KONNIENKODirector of the Les' Kurbas Centre Kiev

OLEKSANDR KRYZHANIVSKYIDirector and general manager of the New Theatre on Pechersk

ANDRIY F. BILOUSArtistic director of Kiev Academic “Molodij” Theatre, drama teacher, actor

VOLODYMYR KUCHYNSKYFounder and Artistic Director of the Les Kurbas Theatre (Lviv), Director, Actor

STANISLAV MOISEIEV *Artistic director of Ivan Franko NationalAcademic Drama Theatre, Kiev

Born in 1959 in Kharkiv (Ukraine), Moiseiev beganhis artistic career in Shchepkin Sumy Drama Thea-tre. In 1988 he became chief director of the Trans-carpathian Musical and Drama Theatre (Uzhgorod).He directed classic works of world drama and natio-nal heritage, including works such as: “ScapinTricks” (Moliere), “Zone” (Kulish), “Phaedra” (Raci-

ne). In the early 90's Moiseiev cooperated with KyivState Youth Theatre, “Bravo” Kyiv Theatre, Ivan Fran-ko Kyiv Academic Drama Theatre and Lesya Ukrain-ka Kyiv Russian Drama Theatre. In 1996 he becamethe head of Kyiv Young Theatre. His first staging“Don Juan” by J.-B. Moliere attracted a lot of attenti-on and has often presented Ukrainian performingarts at prestigious theatre festivals.Moiseiev focuses on classical drama, experimentingwith known texts by transforming them into comple-tely modern performances. Until today, he stagedmore than 60 performances in Ukraine, Slovakia andHungary (“Hamlet” by Shakespeare, “Hedda Gabler”by Ibsen, “Uncle Vanya” by A. Chekhov - awardedGrand Prix at the Chekhov Festival in Poland, “MaryStuart” by F. Schiller, “Merchant of Venice” by Shake-speare, “Round Dance of Love” by A. Schnitzler toname only a few). During the last two years in IvanFranko Theatre Mr. Moiseiev staged “Flower Thistle”

by N. Vorozhbyt, which was successfully played atthe Tbilisi International Theatre Festival on Septem-ber 26, 2014. His last performance “This is her des-tiny…” based on the eponymous poem of TarasShevchenko was dedicated to the 200th anniversaryof Ukrainian Genius birth. S. Moiseiev is also an as-sociate professor at the National University of Thea-tre, Film and Television (Kyiv). Since August 2012 hethe artistic director of Ivan Franko National Acade-mic Drama Theatre.* Due to unexpected circumstances Mr. Moiseiev was regretfully not

able to attend. His work and theatre was presented at the conference.

The Ivan Franko National Academic Drama Theatre, established in 1920 in Vinnitsa, was the first professio-nal theatre stage in Ukraine. In 1927 it moved to the centre of Kiev. It has been the working place for some ofthe most famous Ukrainian artists such as Ostap Stupka, Anatoliy Hostikoev, Bohdan Benyuk, Oleksiy Bohda-novych or Natalia Sums’ka. Bohdan Stupka, the well-known actor not only in Ukraine, but also in Poland andRussia, was the artistic director of this theatre for many years. In 2012 he was succeeded by Stanislav Moi-seiev, who also regularly directs performances. The theatre consists of a main stage with 800 places and the‘Serhiy Danchenko’ chamber stage with 150 places.Today, the theatre’s drama repertory plays more than 50 performances, representing the richness of theatri-cal art containing both contemporary and classical plays such as “An anthem of democratic youth” (S. Zha-dan), “The Living Corpse” (L. Tolstoy), “The Seagull” (A. Chekhov), “Marriage” (N. Gogol), “Edith Piaf. Life in acredit” (Y. Rybchynsky), “Zorba the Greek” (N. Kazandzakis) etc. (http://ft.org.ua/)

Ivan Franko National Academic Drama TheatreKiev

Theatres and theatre directors from the Ukraine

ANDRIY F. BILOUSArtistic director of Kiev Academic “Molodij”Theatre, drama teacher, actor

Laureate of the Alexander Dovzhenko National StatePrize (2004), Honored Artist of Ukraine (2014). Sin-ce 2012, the artistic director of Kiev Academic “Mo-lodij” Theatre.Stages of his career: From 1994 until 1998 trainingas actor of drama theater and cinema, Karpenko-Ka-ry Theatre, Film and Television National University inKiev, Workshop S. Tkachenko. 1999-2004 dramatheater director, Workshop V. Sudyin.Hits and events of the last two seasons have beco-me his productions - "Enigmatic Variations" (author:E.E.Schmitt) and "Intrigue and Love" (author: F.Shyl-ler). His directing style is a real vanguard of moderntimes. Andriy Bilous gravitates to what many areeven afraid to approach (for fear of being branded"unfashionable"). He stretches to the text, subtext.To the hidden encrypted. Variability and "fertility" ofacting nature. He is trying to extract the inner musicfrom the stage text. He used to refrain from usingcatchy external devices. Andriy Bilous has set him-self a difficult mission: building human theatre witheternal values.

The Kiev Academic “Molodij” Theatre was founded in 1979. It is a theatre lead by a young team which is try-ing to dialogue with modern and young audiences – young not only by age, but also by the soul with the goalto discover new talents, experiment, develop and conquer peaks of the performing arts. Its programme of-fers performances for every taste with works of the best classic and contemporary authors: Anuj, Beckett,Bunin, Halseran, Karpenko-Kary, Kvitka-Osnovyanenko, Ostrovsky, Saroyan, Schiller, Schmitt, Schnitzler, Chek-hov and others. It also actively works with modern Ukrainian authors and engages young directors and ac-tors for this. A new, third stage – the mikrostage – dedicated to present work of debuting theatre talents wasopened in the beginning of this year. “Molodij” Theatre cooperates with European theater directors includingperformances such as "Until Mom Comes" (French director Christophe Fortiye), "Take, love and run!" (Britishdirector Caroline Steynbeys). Productions are regularly invited to many well-known international festivals andare multiple winners of the prestigious Ukrainian theatre prize "Kyiv Pectoral". (http://molody.kiev.ua/)

Kiev Academic "Molodij" TheatreKiev


The Les’ Kurbas State Centre for Theatre Arts, created by a decree of the Cabinet of Ministers of Ukraine on De-cember 12, 1994, began its work in 1996. The center takes into account new practices of the contemporary culturalworld, which foresees the "totality" of function, an easy interchangeability of "elements", the parallel development oftheory and practice, and the principles of multi-levelness and simultaneity. The Centre consists of three divisions:scholarly-research, culturalogical, and artistic-theatrical search laboratories. Preference is given to the generationof ideas, to young talents and new methods and methodologies, and to ex-perimentation in the broadest of artisticrealms (it is impossible to research theatre today outside of a unified artistic context). The Centre aims to provokeexperimentation and to create globally-constructive models for Theatre as a builder of a national spiritual environ-ment, featuring a new Language. The intellectual thought of a new Ukraine and its culturology and art research,should reintegrate themselves into the European and world contexts from which they were separated for well-knownhistorical reasons. The Centre's activities include five strategic directions:1. The development of a contemporary dialogical model: Ukrainian culture - world culture2. The writing of the history of 20th century Ukrainian theatre in the context of world artistic culture, through the uti-lization of new methodologies.3. The creation of a wide-ranging system of culturalogical projects as a mechanism for the reintegration of nationalculture into the world context.4. The formation of innovative models for theatrical and artistic education.5. Analysis of state cultural policy, proposals of alternative and innovative cultural forms.(http://www.kurbas.org.ua/en/centre.html)

NELLI KORNIYENKODirector of the Les' Kurbas Centre Kiev

She holds a doctorate in art criticism. Member-correspon-dent of the Ukrainian Academy of Arts, laureate of the Les’

Kurbas Prize, and Chevalier of the Order of Princess Ol’ha.Candidate’s dissertation is entitled "Les' Kurbas, the Direc-

tor", doctoral dissertation is entitled "Theatre as a Diagno-stic Model of Society. Some Universal Mechanisms of theSelf-Organization of Artistic Systems". Korniyenko workedat the Sociology Division of the Institute of the Theory andHistory of the Arts (Moscow) and at UNESCO United Pu-blishers (Moscow-Paris). From 1992 on she has lived inUkraine and is employed by the National Academy ofSciences and the Les’ Kurbas Centre. Author of close to200 scholarly works, including the following monographsand books: Theatre Today - Theatre Tomorrow, Les’ Kurbas:A Rehearsal of the Future, Ukrainian Theatre at the Brink ofthe Third Millennium: A Search (Images of the World, Va-luable Orientations, Language. Prognosis, Gordon Craigand his Theory of “Ideal Theatre”, Ukrainian Theatre of the1920s-1990s (The World Encyclopedia of ContemporaryTheatre, London-New York, Toronto), Hryhorii Skovoroda:Hypothesis on Happiness, Olena Rerykh’s Noosphere,Mass and Elite Culture in the “Interior” of Post-Modernism.Special interests include national cultures (Armenian,Abkhazi, Assyrian, Jewish, Uzbek, Roma, Lithuanian,among others). Has lectured in the US, Canada, Poland, Is-rael, Russia, and elsewhere. Works at an intersection ofdisciplines: art criticism, the sociology of art culture, cul-ture studies, synergetics, semiotics, and hermeneutics.Has been translated into 32 languages.

Les’ Kurbas State Centre for Theatre ArtsKiev


The New Drama Theatre was born by a group of graduates trained at the Karpenko-Kary Institute for the Art ofthe Theatre and Cinema, Kiev, the group of master-class by Professor N.Rushkovsky. In 1999, the New DramaTheatre was founded. There are 12 actors in the theatre’s company, all with an average age of 25-30 years. Theleader of theatre – artistic director and manager is Alexander Kryzhanovsky, who works with this group since1995, being a performer at the master-class. The New Drama Theatre’s repertoire is mainly based on classicauthors (international) and famous modern novels and plots. The last productions staged by the New DramaTheatre on Pechersk:“Master and Margarita” – M. Bulgakhov“The Servant of two lords” – C.Goldony (director – S.Salvato, Italy, comedy Del Arto)“The Low of Tango” – H.-L. Borges, Cartassar“5 stories by Victor Pelevin” – V. Pelevin“Ionych” – the story, letters and dairy’s fragments – A. ChekhovThemes staged at the theatre focus on the study of human nature, relationships in the modern world and pres-ents itself as a modern European theatre that works with a variety of forms and styles, using the elements ofcontemporary dance, video, and installation,.The company was a recipient of the Kievs’ka Pectoral’ award for“Master and Margarita” by M. Bulgakhov and “The Lamancha’s Man” and has performed in famous internationaltheatre festivals (Germany, Russia,United Kingdom, Sweden, Belarus, Lithuania,USA) and developed joint pro-jects with the Italian Cultural Institute, the Swedish Institute, the Goethe Institute, the Theatre Union of Russiaand many others. For nine years New Drama Theatre on Pechersk collaborates and creates co-productions withLivingArtCollective Melo (Sweden). (http://newtheatre.kiev.ua/eng/about_theatre.php)

OLEKSANDR KRYZHANIVSKYIDirector and general manager ofthe New Theatre on Pechersk

Kryzhanivskyi been working in the theatre since1980 as an actor and later as a director. He workedin several theatres in Kyiv such as Variety Theatre,Youth Theatre, Theatre on Podol and in «School ofDramatic Art" Theatre in Moscow. From 1982 to2000 he was a trainer in a courses at the “Theatreart” department at Kyiv National University of thea-tre, cinema and television. Since the early days of itsfounding in 2000 he works as an art director and ge-neral manager of the New Theatre on Pechersk.His creative biography includes over 50 roles as anactor. Kryzhanivskyi staged more than 30 perfor-mances as director and participated in many inter-national theatre festivals in Mexico, Greece, Finland,Russia, Denmark, United Kingdom, Egypt, Jordan,Sweden, Costa Rica, Germany and Turkey. He evenhas an experience in the film industry - played morethan 30 roles in films.

New Drama Theatre on PecherskKiev


VOLODYMYR KUCHYNSKYFounder and Artistic Director of the Les KurbasTheatre, Director, Actor

He worked as an actor at the Maria ZankovestkaTheatre before going to study directing with MarkZakharov and Anatolyi Vasiliev at the Institute of

The Les Kurbas Theatre Lviv was founded in 1988 as the “Lviv Youth Theatre” by Volodymyr Kuchynsky and atroupe of young actors and artists, seeking to create a new and challenging arena for theatre practice in themidst of a changing Ukrainian world. Their initial explorations in theatre gave voice to the silenced Ukrainianpoets Vasyl Stus, Vasyl Symonenko, Lina Kostenko, and Ivan Svitlychnyi, and through this exploration, theybegan to resonate with their own distinctive voice. Since then their actor-centric theatrical exploration hasevolved in response to personal and social history—from antiquity to present—in union with art, artists, othertheatres, and a remarkably diverse span of genres and authors.Poetry, mythology, novels, dramas, fables, philosophy and “texts for theatre” have all found their way ontotheir explorative playing fields through authors such as Ukrainka, Dumas, Skovoroda, Dostoevsky, Plato,Chekhov, Pirandello, Schmitt, Antonych and KLIM….These works have been performed widely in Ukraine and the world over, and having been invited to numerousfestivals and tours, they have taken home awards on many of these occasions. Through all its years, The LesKurbas Theatre has produced over 50 productions, raised several generations of actors—some of whom arestill with the theatre, some of whom have gone on successfully to other theatres, and some of whom havecreated their own theatres. (http://en.kurbas.lviv.ua/)

Les KurbasTheatre LvivLviv

Theatrical arts (GITIS) in Moscow. In 1988 he foun-ded the Kurbas Theatre and became its Artistic Di-rector, a position he has held ever since. The authorof many projects and festivals, Kuchynsky has direc-ted over twenty works at the Kurbas Theatre, and ad-ditional productions at the Ivan Franko NathionalTheatre in Kyiv and Taras Shevchenko Theatre inKharkiv, which was originally the home to Les Kur-bas’ “Berezil Theatre.” In 2001 his studio mergedwith the Lviv Ivan Franko National University (LNU)where he has lead courses in acting and directing.He has also conducted master classes in Ukraine,Russia, Poland, Italy, the UK and the United States.In the latter, he has lectured, given classes or beenhosted by the Theatre, Literature or Ukrainian de-partments of Columbia University, Yale, Harvard andUniversity of Pennsylvania. His work has been cele-brated in Ukraine and internationally; he has beenawarded prizes for his direction and artistic contri-bution to Ukraine, in addition to a shelf full of “bestdirector” awards from international festivals, he isthe recipient of the Shevchenko Prize, The KurbasPrize, and he was the first ever recipient of the VasylStus Prize. Volodymyr Kuchynsky is an “Honored Ar-tist of Ukraine”, a title given by the Ukrainian Govern-ment to acknowledge excellence in achievement inone’s field.


YOUNG THEATRE MAKERSFROM THE UKRAINE

YULIIA FEDIVProject and cultural manager

IRYNA CHUZHYNOVAHead of Theatre Platform NGO, theatre critic, curator, deputy of editor-in-chief Ukrainian Theatre Magazine

IGOR MATIIVDirector

ANDRII POPOVDirector

DIANA AISHETheatre director, educator in language through drama projects, translator and interpreter

ІRYNA CHUZHYNOVAHead of Theatre Platform NGO, theatre critic,curator, deputy of editor-in-chief UkrainianTheatre Magazine

In 2006 Iryna Chuzhynova graduated from Karpenko-Kariy Kyiv National University of Theatre, Cinemaand Television – “Specialist in drama studies, criticand lecturer”. From 2006 to 2010: postgraduate edu-cation in The Institute of Arts (part of National Aca-demy of Sciences). She is an author of more than300 publications in newspapers and magazins aboutUkrainian and European theatre process. Chuzhyno-va participated in many Ukrainian and internationalfestivals, work-shops and seminars.In 2013 she created the Theatre Platform NGO to-gether with young Ukrainian theatre critics Viktor So-biianskiy, Nadia Sokolenko and Anastasia Gaishynets.Theatre Platform is a non-governmental, non-profitcivic organization established primarily as unbiasedalternative institution in order to change the contextof theatre art of the XXI century. The key NGO’s figu-re is the curator. International Summer School “Di-rector – Playwright – Dramaturge: The Creation ofIdea” and The Les Kurbas Festival of Young Ukraini-an Directors are the biggest projects of Theatre Plat-form during 2014.

Yulia is persuaded that artistic means are the bestmeans in order to address social and political issueson all levels. Yuliia is now working on developmentof socio-political theater in Ukraine. Her projectmission is to create a platform for peaceful dialoguebetween Ukrainian citizens and existing Ukrainianministries and other administrative agencies. Socio-political theatre should encourage representatives ofdifferent regions of Ukraine (focus: South-Easternand Western regions) to participate in the democra-tic processes and the civil society formation. Theparticipants of her project are volunteers, internaldisplaced persons from Eastern Ukraine and Crimea.Since 2012 she also coordinates another socio-cul-tural project for children in need “Our Kids InclusionProject”. It is a socio-cultural project including filmadaptation and final performance with children andteenagers from different backgrounds. The project isdirected towards children in difficult life situationsrespectively children having experienced trauma tohelp them to meet their own body as well as to dis-cover their own artistic talents (music, dance, thea-ter, circus, sports, and design).

YULIIA FEDIVProject & Cultural Manager

Young theatre makers from the Ukraine

Born in 1985, Ivano-Frankovsk (Ukraine), Igor graduated2008 from the Directing department of the theatre fa-culty of the Kiev National University of theatre, cinemaand television. Educational projects: “The last Leaf” ofO’Henry, “Pious” of V.Stefanik, “The Shoemaker's Won-derful Wife” of F.G.Lorca, “Mina Masailo” of M.Kulish,“Stolen happiness” of I.Franco , “Khanuma” of A.Tsaga-reli, “4.48 Psychosis“ of Sarah Kane (award to the bestactress at the Directing college festival in Moscow),“Oresteia” of Aeschylus. Professional works: “Motherand Daughter” of A.Mardan (Kyiv Theatre of Saksa-ganskiy, 2007), fantastic drama “The forest song” of L.Ukrainka (Ivano-Frankovsk Theatre, 2008), drama “Twofor the seesaw” of W.Gibson (Cherkasy Theatre, 2009).Since 2010 works as director in Donetsk National Thea-tre where he staged: erotic tragifarce “Bachelors” of H.Levin, sitcom “Perfect wedding” of R. Hawdon, melo-drama “Cemetary club” of I. Menchell, social and politi-cal tragifarce “Aunt Motya has arrived...” of M. Kulish,melodrama “Filumena Marturano” of E. de Phillipo, he-roic epos “The Blind” of T.Shevchenko, thriller “A trapfor lonely man” of R.Thomas. In 2013 graduated fromthe Diplomatic Academy (Moscow)

Andrii was born in 1993 in Rivne, Ukraine. Being astudent in High School, he was already actingand studying at the Studio Theatre "The LittlePrince", in Rivne City Palace of Children andYouth, where he gained basic knowledge and un-derstanding of the theatre nature, it's rules andtechnology.After, he entered The Kiev National University ofTheatre, Cinema and Television of I.K.Karpenko-Kary (workgroup of Eduard Mitnitsky and AndriiBilous), and entered the path to become a theatredirector. This path gives him the chance to findthe balance between his fantasy and surroundingworld. Studying in his workgroup gave him skills,needed for creating theatre the way he feels.These days, the result of his art research are twotheatre works: “The White Nights” by Fyodor Do-stoyevsky (“The Free Stage” Kiev, Ukraine (2012)The Kiev National Academic Theatre of Dramaand Comedy (2012-2013)) and William Gibson's“Two for the Seesaw” (The Kiev National Acade-mic Theatre of Drama and Comedy (2014).

IGOR MATIIVDirector

ANDRII POPOVDirector


DIANA AISHETheatre director, educator in language through dra-ma projects, translator and interpreter

She has set her goals in creating a European-orien-ted, high quality Ukrainian theatre production basedon mix of tradition and experiment. From 2008 till2011 she was an artistic director and founder oftheatre studio Aparté, Dnipropetrovsk (producedover ten experimental plays by S.Beckett, H.Pinter,D.Ives, P.Lagerkvist, O'Henry, H.Levin, H.R.Jimenez);two projects with plastic theatre „White Noise“ andmusic band „A La Ru.“ She is a lecturer at JCD ETRC(Kyiv) sponsored by the U.S. Embassy and EnglishThrough Drama course educator at The Les’ KurbasNational Centre for Theatre Arts. She became a di-rector of Aparté project in Kiev: experimental playsin non theatrical spaces (museums, galleries, cafesetc.) based on classical and modern texts as well asacting improvisation. In spring 2014 she staged theplay „Partners in Crime“ by E. E.Schmitt as her firstprofessional theatre production at DnipropetrovskAcademic T.G.Shevchenko Ukrainian Music DramaTheatre. After successful premiere of this show shehas been invited again, this time to stage H.Ibsen's„Hedda Gabler“ in spring of 2015.


Conference venue IHK

Guided walk trough the city

The venue

Upon the suggestion by the organisers of this forum, Idecided to concentrate my attention on several im-portant issues that focus on the social role of Ukrai-nian theatre in society. It’s absolutely obvious whythis issue is of interest to our European colleagues.Theatre is able to react on social and political pro-cesses in the society and its reaction comes veryquickly. And for a certain time and to some extent itcan be considered as a quality of modern Europeantheatre. The ability to influence these processes, isaccording to the opinion of some ideologists of mo-dern theatrical movements, one of the most relevantgoals of modern art. Preparing myself for this intro-ductory report and in order to avoid subjectivism, Imade some research, read scientific and critical pu-blications and also made some consultations withtheatre makers and my dramaturgical colleagues.

Structure of Ukrainian theatreIn order to give the most appropriate picture of the re-sults from my research, I would like to tell you firstabout the structure of Ukrainian theatre. Later it willbe easier to understand why it’s important. First of allthere are public theatres, which are fully funded bythe state or local government that is to say by thetaxpayers. There is also a non-public theatre scene,which consists of the so-called free theatre, indepen-dent theatre festivals, as well as so-called projecttheatre.

Public (State)TheatreThe State Theatre is the most widespread form inUkraine. Since the off scene-theatres are almost ne-ver funded and not supported by the state, they arenot stable and in most cases disappear as quickly asthey appear. Today, in Ukraine with a population ofapproximately 46 million inhabitants, exist 137 stateand municipal theatres. More precisely, in the Ukrainethere are 44 drama theatres, 41 theatres dedicated tochildren and youth (including 29 puppet theatres), 31

music and drama theatres and 10 musical comedytheatres as well as very small theatres.Compared to Germany, with its rich 150 state and mu-nicipal theatres for 80 million people, the situation inUkraine is quite decent. Many other European coun-tries may not have what we have in Ukraine. The lar-gest number of Ukrainian theatres is concentrated inKiev, followed by Odessa, Lviv, Dnipropetrovsk, Khar-kiv, Donetsk (with 5 to 8 theatres operating in each ci-ty).Professional theatres in Ukraine give about 30 thou-sand performances per year. The vast majority of tou-ring productions (with approx. 4 thousandperformances per year) are staged in Ukraine - andabroad about 200 each year. There are 10 -12 theatrefestivals funded mostly by state and local budgetsevery year. The average number of opening nights atpublic theatres is 4 - 5 per year. For example, in thesmall city of Kherson, the three theatres there can ha-ve up to 12 opening nights during a year.To say that the financial support for Ukrainian thea-tres is insufficient would not really be appropriate,better is to say - there is no financial support. Themost part of the money goes for salaries for actorsand theatre professionals and leaves the infrastruc-ture and creative work of theatres in poor condition.Theatres must look for funding to create and stageproductions separately from other sources. Accor-ding to one of the famous Ukrainian theatre criticsOleg Verhelisa the efficiently operating ones are 20out of 137 theatres. Only about 20 theatres are wor-king on new art forms and are able to produce a qua-lity product. The rest are busy eating their budgetsand present Ukrainian society with cultural productsof dubious quality.Particularly high attendance of audience is achievedby an easy perceivable repertoire and lots of perfor-mances, also due to quite a lot of opening nights. Thecurrent Ukrainian theatre is not differentiated and notadapted to a special interest of the public, all-uni-formly monotonous and entertaining. Let us not for-get that in Western countries, which we wish to join,

The structure and developmentof the Ukrainian Theatre

presented at the conference by Pavlo Arie

no matter alone or with the whole country – there aremany theatrical aesthetic directions styles andschools positioning themselves for certain subcultu-ral social groups, looking for their specific audience,in short, are for people with a large variety and diver-se tastes and even include special needs for peoplewith different levels of education and capabilities.Searching theatre, experimental theatre, theatre as ascience, as a laboratory - in Ukraine those theatricalforms almost don’t exist nowadays. For example, oneof the few innovators such as director Andrei Zholdaklives and works outside of Ukraine. It is also worthmentioning the theatre maker and director VladTroitskyi of the private Centre for Contemporary Art"Dach". The project has successfully existed for overa decade and in 2013 announced the end of its exis-tence. Nevertheless there is still one resonant andsharply-social performance "Oedipus. Dog House "that is continuously staged.Ukraine has no national policy on theatre as a subjectof cultural policy. Ever since the Soviet totalitarianUkrainian theatre did not have a critical dialogue withthe public, it was transformed into an instrument ofcommunist propaganda or a place with a depolitici-zed, aesthetic and artistic search. And even up tonow Ukrainian theatre could not develop a reactivefunction of a social process barometer. So, it’s diffi-cult to speak about any impact on processes in the li-fe of the Ukrainian people. Ukrainian theatre islocated on the territory marginality and even when itdares to make sharp remarks, it is not heard and norseen. This theatre is in permanent compromise withthe government which feeds it. Sometimes theatredefines the topic without catching up. In rare cases,there are some attempts at state theatres to be rele-vant. But there is no expectation of artistic radicalismanyway.

Private TheatresThe most promising perspectives in this regard hasthe so-called non-governmental private and projecttheatre. In particular I want to highlight the activitiesof two non-governmental festivals that concentratesolely on contemporary and new drama: the Lviv In-ternational Festival "Drama.Ua" and the Kyiv festival"Week of Modern Drama". These festivals have been

around for quite a long time and have a significant ef-fect on the education for a new wave of young playw-rights and directors. In addition I would like tohighlight the Kiev "Theatrical Platform" with a diverseactivity, including their festival "Young directing". Al-so, there is the contemporary arts centre "Dach" andthe contemporary arts festival "Gogol Fest" with itsinteresting and bold theatrical part. For sure these in-stitutions play a role of the socio-cultural barometerin Ukrainian society.

Modern dramaHow modern theatre reacts on the challenges thatarise today in front of the Ukrainian society and thestate as a whole? Probably the best in this regard canbe… The answer to the question: Whether modernUkrainian plays are staged in Ukrainian theatres? He-re are statistics that were given by the theatre criticIrina Chuzhynova, who happens to be in the room he-re today with us:Overall, it can be said Ukrainian theatres stage 80%classic and 20% of modern drama , out of these 20% -5% are of modern Ukrainian drama, and the remaining15% - are modern international drama...I'd add that perhaps out of those 5 percent of thismodern Ukrainian drama only one or two refer to thevery recent contemporary drama. That is what issharply social and up to date. In comparison in Ger-many for example, the proportion of very recent con-temporary drama ranges out of 100 up to 30 percentin some theaters. Agree it’s a striking difference. Theaverage is about 20 percent in the whole of Germany.Among Ukrainian theatre programs, posters announ-cements are only for classics, and the genre used areoften comedy performances even when the actualgenre of the play was defined in another genre by theauthor. To describe more than one hundred differenttheatres in Ukraine, more than a third of which is lo-cated in the capital, one word to use - entertainment.Comedy and melodrama even serious academic dra-ma theatre occupy approximately 70% of the effectiverepertory.The lack of a governmental policy in relation to con-temporary drama can definitely be considered asmain cause of entertaining, totally apolitical Ukrainiantheatre. When we look at posters with modern Ukrai-

Structure and development of the Ukrainian theatre

nian drama of the repertory, the number of them is sosmall and unstable that it is even difficult to determi-ne. Although in Ukraine there are about 50 playw-rights, and many of them are young or relativelyyoung. Over the past three years, with the support ofvarious funds more than 5 publications of containingcollections of new drama works there were editedand issued. Though, most of these texts have neverbeen staged. Ukrainian producers have little interestin modern drama written by Ukrainian authors. Mo-dern playwrights have to be paid fees, which is on theother hand not the case if you choose to stage "fore-ver living" classics. Although some active authors al-ready have written about 20-30 plays, if they arestaged, these performances usually do not havemuch success and resonance. Before the collapse ofthe USSR, the Ministry of Culture bought the plays. Todo this, its theatre department worked with playw-rights and 5 to 7 experts who were stubbornly lookingfor young talents. Now this institution is cancelled.There is no drama school. There is no college thatprepares playwrights and practice workshops inUkraine. However we must mention the long-termeducational project which had the support by the Bri-tish Council London Royal Court Theatre. It ran from2010 – 2012 and the effectiveness of the project can-not be overestimated. In Ukraine, during this periodthere appeared a group of playwrights who can writenow sharp social quality texts. Some of these textswere even staged in state and free public theatres. Asin Ukraine young directors and playwrights have ingeneral not yet formed associated tandems, I wouldconsider that also a fact that certainly would sub-stantially speed up the reaction of the theatre for so-cial and political developments and changes in thecountry.In particular on the stages of modern Ukrainian thea-tres in the capital there are a few playwrights repre-sented, and as noted by critics, none of these workscan be called modern. Neither content and the actualsituation, nor the writing style has anything to do withcontemporary approaches. Let me quote some wordsby some Ukrainian critics

In purely theatrical sense, where only such undoubtedcategories as pulse or rhythm of today’s life are im-portant, the generation of our playwrights creates so-mething suspicious and moldy, dated the dnnnaybefore yesterday, that is unable to touch the present.

But it wouldn’t be so bad if the directors knew where tolook for texts that show the present. They do not know- this is very annoying, although it can be forgiven. Butthen, according to critics, what cannot be forgiven isan absolute unwillingness to speak from today's stageusing language of today.

Ukrainian theatre is a wild pitch that has thickly over-grown with weeds – critics think. Young theatre ma-kers are almost invisible in there. Poignant new playsare not seen either.

Modern Ukrainian art exists on the periphery of socie-ty. It lives in parallel to the society, not being involvedinto a dialogue with it. But worse than this, is thatUkrainian theatre rejects the possibility of talking tocontemporaries in their language. Instead it is beingtouched by its spirituality, not paying attention that itturned into fiction or a ghost.

Our theater doesn’t take a risk of working with newdrama, justifying it by a lack of public interest, asviewers are accustomed to go and see what they al-ready know. Not believing that tickets will be sold fornew drama, theatres just prefer not to take it into theirrepertory. Here is another interesting quote:

Unfortunately, theatre is poisoned with national pa-thos, messianism and small city spirit.

Ukrainian theatre really has to answer a question:which way it has to go and which needs of what kindof society will it satisfy? A national society or a civilsociety? Conservatism and moralizing or a sharp so-cial dispute? Many modern Ukrainian producers liveby the principle: "There is no prophet in our owncountry." They think that there is no Ukrainian goodplaywright and there won’t be any to appear. In Mos-cow, St. Petersburg there are some. Or if you are re-cognized abroad, or at least in Moscow than you arealso known in Ukraine, otherwise you are not interes-ting. Although, it is not always like that. There are ex-amples where modern Ukrainian plays with Ukrainianthemes were staged in British theatre but they arestill not staged in the home country. One example -dedicated to the Holodomor play "Granary" by the fa-mous Ukrainian dramaturg Natalia Worozhbit, the playwas placed on stage of the British Royal ShakespeareTheatre and in Ukraine it was staged 5 years later.


This historic event , without exaggeration, took placenot at the initiative of the state theatre but due to aproject of the Lviv International Festival of moderndrama "Drama.UA."

But we cannot ignore the fact that little new dramastarts winning its space in Ukraine. The leaders inthis process are theatres based in Kyiv, Lviv, Kharkiv,Kherson. But again, I'm talking about formats anddrama festivals form of stage readings of texts ratherthan staged performances. But even this format haswon its audience. In Lviv during the month of Septem-ber at the festival "Drama.UA" opened a new project -"the first stage of modern drama". The theme of thecurrent season at this theatre is "War" and it exists inthe territory of one of the municipal theatres, which initself creates a conflictual situation. How long will itcontinue to exist ? It is hard to say.Ukrainian producers do not believe that the audiencewill accept a modern play. While in Europe and evenin Russia there are whole modern drama theatres, inUkraine such theatres don’t exist. Open a new name –

it is a risk. Directors do not trust young playwrightsenough to offer them the stage. A striking exceptionis Lviv Theatre Kurbas led by Vladimir Kuchinsky. Aspart of the theatre program, there is a project called"Theatre playwright." The project dramaturges havethe opportunity to fully participate in professionaltheatrical processes; they work with actors, artists,theatre technicians, try out themselves as stage di-rectors and run their texts on stage as performativereadings with real viewers. Indeed this is a uniqueand outstanding experience.National drama develops when there is a systematicdescription and understanding of the realities andwhat is going on in a country. According to the Ukrai-nian filmmaker Alla Rybikovoyi, attempts to interestthe international theatre community should be prece-ded by the realization that now – the present – is im-portant in our lives for us. When Ukrainian will do thisand do this in a talented way, then we will become in-teresting for the world.

State Theatre as part of theold post-Soviet systemPerhaps you can ask: Whether the Ukrainian theatrewants to change? Changes can cause violations ofyour comfort zone. That is bad, but the most import-

ant thing – it won’t be worse! Here's what you canread in the eyes of an ordinary artist of an averageUkrainian theatre. Let me read another quote of aUkrainian critic:

There is no governmental strategy to adapt staff chan-ges in state and municipal theatres. Due to the sys-tem, some relatively young directors (who are now intheir forties or a bit older) such as Dmitry Bogomazov,Yuri Single, Andrew Prikhodko and others are employ-ed in different Kyiv theatres and it is them who makesome productions also in other cities. But we needcompetition and new directors. They need to be drivenfrom their "warmed" places. But this does not happen.Administrators convert their theatres in a private un-derground business where they are afraid to let othersdecide, and have no influence nor the control of youngcreative people.

International cooperationI cannot deny Ukrainian theatre in the context of Eu-ropean theatre. It is difficult to be proud of a constantcultural exchange in this area, but it is still there.Especially a great contribution to these exchanges ismade by cultural and artistic centres of many coun-tries that support the implementation of its classicalor modern drama in the Ukrainian theatre scene.Especially active are to name a few institutions – theGoethe-Institut, British Council, the East EuropeanPerforming Arts Platform (main partner in Poland),Polish Institute. Also, the Austrian Cultural Center atthe Embassy of Austria in Ukraine and the RussianAvant-Garde drama "Lyubimovka." Of course there isnothing wrong with such cultural expansion, on thecontrary. But the Ukrainian government officials – arethey engaged in the field of culture? This issue is stillbeing left open.Important is the activity of the Polish and East Euro-pean Russian Platform "Lyubimovky" which is bilate-ral, that is to say they are interested not only in itsproduct promoting Ukraine but getting acquaintedwith Ukrainian theatre and modern Ukrainian dramaon their territory. Also this year there was a festival ofmodern Ukrainian drama in the Czech Republic in Br-no. Czech dramatic texts were translated by six con-temporary Ukrainian authors and the staged inreadings, the Czech audience heard and saw Ukraini-an texts about the problems that concern Ukrainians


today, including the Maidan revolution and the conse-quences of the Chernobyl disaster.Some shifts also occurred in Germany with a raisinginterest about Ukraine. In particular, for now two con-secutive years Ukrainian theatre actors were selectedto participate in the International Theatre Forum attheatre festival "Berlin Theatertreffen" which takesplace every year in May, and which was led by UweGössel. He is currently involved in the educationaltheatre festival "Week of Contemporary drama" thathappens these days in the capital of Ukraine - Kiev.Here there are present various models of Europeantheatre, including German. A year ago, Uwe Goesselconducted for example also with the support of Goe-the-Institut a series of workshops and lectures onmodern European theatre in the Western UkrainianLviv within the dedicated international contemporary

Author of more than a dozen plays in Ukrainian, Rus-sian and German language. Pavlo Arie’s plays havebeen repeatedly published in various publications, aswell as in the form of individual books, some of themhave been staged. His plays have been translated intoGerman, English, Russian, French, Polish, Czech andSlovak and presented at theater festivals such as:«PLAYS FROM EUROPE 2010" Theater Biennale Wies-baden (Germany), "Drama UA», «Kurbalesіya" (Ukrai-ne), International theatre festival «Drabyna», project“New writing with Royal Court 2012” „KonfrontationFestival" 2014 Lublin etc.Winner of the prestigious Ukrainian literary competiti-on "The Coronation of the word in 2011". Since 2011cooperates in the international programme of theLondon based Royal Court Theatre with playwrights.From 2011 onwards appointed curator of the drama-program by international Art Workshop and Festival“Drabina“ (Ukraine. From 2012 the curator of the an-nual competition of modern Ukrainian drama 'Dra-ma.UA'. In 2013, award for the best Ukrainian theaterpiece on historical theme by Kyiv National Shevchen-ko University. Received scholarships from the Goethe-Institut, scholarship and participant of the Internatio-nal Forum of the “Theatertreffen” in Berlin. 2014scholarship and participant of the East European Per-forming Arts Platform www.eepap.org. Lives in Ger-many and Ukraine.

drama festival "Drama.UA."Another notable event is the first production for ma-ny, many years of modern Ukrainian drama in a Ger-man theatre. The premiere performance of"granularity" of the play by the young Ukrainian playw-right Dmitry Thorns took place in June 2014 at theState Theatre in Karlsruhe. The topic of this perfor-mance is devoted to the Orange revolution that tookplace ten years ago.It is obvious that somewhere in our conscious werealise to be invited to major theatre forums in theworld there should be a stable national drama anddramaturgy or powerful works of theatre directors.This would attract Western audiences. Do we have it?The answer is open. I can only say that there is a po-tential in Ukraine but there is a lack of a common de-sire to be ourselves.

PAVLO ARIEModern Ukrainian playwright and conceptual artist


Topics discussed• European networking with Ukrainian theatres and theatre makers• Organisation of Showcase with Ukrainian Theatres in Ukraine• Development and strengthening of collaboration between ETC with Ukrainian theatres

Project “ETC Ukrainian Theatre Showcase”

During networking sessions a proposal to organize a Showcase of Ukrainian theatres in Kiev next year wasdiscussed as possibility to continue the exchange and collaboration between ETC and Ukrainian theatresand as well as the fringe scene. Together with the invited Ukrainian delegation, ETC wants to initiate and pre-pare such a project.

SUMMARYETC CONFERENCE ANDFAST FORWARD FESTIVAL

BRAUNSCHWEIG, 27- 30 NOVEMBER 2014Meetings, networking sessions, workshops and follow up discussionsheld with Ukrainian and ETC participants

The Ukrainian working group out of Ukrainian delegation, which took part in the Conference (including alsothe Ivan Franko National Theatre) hereafter the “Working Group” will upon their return to Ukraine consultwith each other and other relevant parties and actors and draft a concrete project proposal.“ETC Ukrainian Theatre Showcase” will be held during four daysETC Delegation to Kiev will include appr. 20 international professional theatre makers including members ofETC board.4 theatres in Kiev will be hosting performances (their own, from Lviv and from the fringe companies andother theatres if relevant)The date of holding Showcase will be subject to discussion of the Ukrainian partnersPerformances for the “ETC Ukrainian Theatre Showcase” will be selected out of the list of performancesprepared by theatre directors who host the project in their venues. The theatre directors make first proposalas for repertoire they want to present, in case there are doubts, ETC is gladly giving selection advice. In ad-dition a night program / or separate section shall include proposals of performances coming from the inde-pendent scene and made by young artistsSelected performances shall be chosen also in view of ‘suitability’ for international presentation (in termsof size)Motivation to organize an ETC Ukrainian Theatre Showcase:

allowing international theatre community to discover Ukrainian contemporary drama and currentartistic tendenciesstrengthening and continuing dialogue between European and Ukrainian artistsreinforcing relations between civil society through theatre art and fostering cultural exchangeand knowledge transfer

WORKSHOPS AND PANEL DISCUSSIONS

WORKSHOPS AND PANEL DISCUSSIONS

PERFORMANCES FAST FORWARD FESTIVAL AND OPERA

CHAMPS D`APPEL FIELDS OF CALLDirected by Francois Lanel (France)

BAALby Bertolt BrechtDirected by Dániel D. Kovács (Hungary)

RULETM

Directed by Emke Idema (Netherlands)

STEPPENGESÄNGE - PRAIRIE CHANTSDirected by Adele Dittrich Frydetzki, Kristina Dreit, Marten Flegel, Anna Froehlicher (Germany)

FORECASTINGDirected by Giuseppe Chico & Barbara Matijevic (Italy, Croatia, Belgium, France)

LES JUSTES / DIE GERECHTEN / THE JUSTby Albert CamusDirected by Mehdi Dehbi (Belgium)

DER FALL M. - EINE PSYCHATRIE-GESCHICHTE / THE CASE OF M. - A PSYCHIATRIC STORYbased on themes and texts from Franz Kafka, Ödön von Horváth, Elly Maldaque & Gustl MollathDirected by Florian Fischer (Germany)

THE RAKE´S PROGRESSopera by Igor StrawinskyDirected by Christopher Alden

PERFORMANCES FAST FORWARD FESTIVAL AND OPERA

Champs D´Appel

Forecasting

RuleTM

Les Justes

Steppengesänge

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Baal

TTTTTTThhhhhhe RRRRRRRaakkkkkkkkkkeee´́́́́́́́́sss PPPPPPPPPrrooooggggrrrrrreeeeeeeeessssssssssssssssssssssss

Press“A focus of the meeting was Ukraine, from where we had invited five theatre artists and five theatres. Thiswas agreed upon before the country became a conflict zone. One colleague reported that in Donetsk his per-formances are staged in Russian now.Theatre and art, which continuously stand for respect of different styles and interpretations, could probablycontribute to offer “Change through rapprochement”, just as Willy Brandt’s Eastern politics back in the timesof cold war achieved to make Europe more human, according to Klement.”

Jochim Klement, Braunschweiger Zeitung, 02 December 2014

“At the Fast Forward festival the Staatstheater Braunschweig presented new works of a young European di-rectors generation of directors for the fourth time. The seven European guest performances could be seenon different stages with sixteen shows throughout four days. During the same time, the annual meeting ofthe European Theatre Convention (ETC) took also place in Braunschweig this year. Under the title “The Futureof Europe” the Staatstheater hosted 80 theatre makers from 19 European nations. With the key topic “In Fo-cus: Ukraine”, the conference took account of the most recent political developments in Ukraine.”

Theater der Zeit, theaterderzeit.de, 01 December 2014

Feedback from Ukrainian participants"I have a better understanding about the situation in Europe, some myths were destroyed, some presumpti-ons confirmed. Now we plan our activity for next year taking into consideration the knowledge we gained,tips and pieces of advice we received.

"I am now even more confirmed to continue my chosen way to create a new scientific approach to theatre asopen, nonlinear and self-organised system with a high level of freedom.

"There are lots of new artistic ideas, both in terms of the internal organization of the institution, but also interms of new strategies and programs to attract more viewers to the theatre.

"I had the opportunity to communicate with art managers, theatre directors, festival organizers who sharedtheir position concerning Ukrainian theatres. I had the possibility to widen my contacts.

"We have to find a common language, as our language was “historically divided”.

"Perspectives for a future of European networking with Ukrainian theatres would be an exchange of ideasand practices involving all working aspects: directing, dramaturgy, theatre critics, use of new approach intheatre life via social networking. There should be an audience and society orientation, not just an orientati-on for theatre people.

"Let the cooperation spirit be with us."

QUOTES

Imprint publication

Publisher and Editor: European Theatre Convention

Editor: Heidi Wiley Oksana Gutso

Translation from Ukrainian: Oksana Gutsol

Design & Layout: Paula Oevermann

Fotos by Krafft Angerer, Mate Bartha, Jean-Pierre Estournet, Volker Beinhorn, Karl-Bernd Karwasz

Copyright © 2014 European Theatre Convention

All rights reserved. No parts of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by

any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.

The project was initiated by the EuropeanTheatre Convention in collaboration with theStaatstheater Braunschweig

PARTNERS & CONTACT

With thanks for the support of the projectEuropean networking with Ukrainian theatres and theatre makersby the German Federal Foreign Office.

Contact

European Theatre Convention

head office: 8, rue Blanche, 75009 Paris

executive office: Schumannstr. 13a, 10117 Berlin

EU office: c/o European House for Culture, Sainctelettesquare 17, 1000 Brussels

[email protected]

www.etc-cte.org

Thank you!

We want to thank our numerous partner organizations that helped us realizing our project, disseminating the information about it in Ukrai-

ne, sharing the call for application and connected us with our new partners. Amongst many others our special thanks goes to the Ger-

man Federal Foreign Office, Ukrainian Embassy Berlin, Goethe-Institute Kiev, British Council Kiev, East European Performing Arts Platform

(EEPAP), International Theatre Institute (ITI) Germany, On-the-move.

About the European Theatre Convention

The European Theatre Convention (ETC) founded in 1988, is a non-profit-making membership organization representing the publicly fun-

ded theatre sector in over 20 countries. Its aims are to create, protect and promote the art of theatre and its linguistic diversity in Europe

and beyond; to act as a transnational theatre network to foster cultural diversity and intercultural dialogue; to act as a platform for profes-

sional exchange, development and capacity building of theatre-makers in an international context and to advocate for the public theatre

sector at EU, member state and local levels.

Staatstheater Braunschweig

WWW.ETC-CTE.ORG

Documents

ETC Photo Documentary: In Focus Ukraine. European networking with Ukrainian theatres and artists